Michael Dale News

Hottest Articles on BroadwayWorld.com from this weekend Sunday, January 1, 2012 - Sunday, January 1, 2012.

Casting controversies, the role of reviewers and another Broadway great turning 80 were among the stories that fired up theatre chat boards and fueled cocktail conversations at Sardi's during the past twelve months. Here are ten of the big issues theatre lovers talked about in 2011.

Hang around the theatre long enough and you grow accustomed to hearing the word 'problematic' applied primarily to two things: a Shakespeare play that's not one of his better efforts or the book of a musical that's rarely revived, despite an excellent score.

Today I write a love letter to Bonnie & Clyde. I don't generally use this space to for theatrical reviews, which are meant to guide readers toward the shows they must see. But Bonnie & Clyde closed this week, which means my thoughts won't - can't - influence anyone in regard to buying tickets. So let's consider this not a review, but a love letter to a show I absolutely adore… which I feel was never given a chance.

Grey turns 80 in 2012, but here in New York it seemed like there were shades of Grey all over the city throughout 2011.

The audience greets their star's entrance with a long round of enthusiastic cheers as she takes her place center stage and she, in turn, glares back at them with a look of unrestrained contempt.  That's the charm of Jackie Hoffman's relationship with her fans.  She always seems utterly annoyed at the prospect of being there and they love her for it.

When it was announced that Transport Group's compact production of bookwriter Douglas Carter Beane and composer/lyricist Lewis Flinn's giddily fun and sexy musical combo of Aristophanes and college hoops, Lysistrata Jones, was moving to Broadway, there was some understandable concern about the Off-Broadway production - originally staged on a gym's half-court - being able to fill out the much larger space.  Not to worry.  It turns out LJ was just aching for some much-needed elbow room to really fly.  At the Walter Kerr, the production values have been expanded to enhance the freestyle romp without overwhelming it, the performances have grown with Broadway-sized confidence and the show is funnier and more delightful than ever.

Call me envious, but the genre of plays that feature smart, educated, financially well-off characters screwing up their lives under the knowing smirks of the maid serves as a kind of comfort food for me.  And while the discomfort in class, racial and gender issues experienced by the LeVay family in Lydia R. Diamond's funny and quite heated family drama, Stick Fly, may seem a bit too familiar at times, director Kenny Leon and his terrific ensemble help deliver a lively evening.

While you probably wouldn't expect period recordings of 'Let's Do It' and 'St. Louis Woman' to be part of the pre-show soundtrack for a family friendly production of Snow White, director/choreographer Austin McCormick's Company XIV has never been a group to provide the expected.

'We began this production with the simplest and most time-honored of theatrical practices,' writes New York Shakespeare Festival Artistic Director, Oskar Eustis.  'We were looking for the next great role for Jay O. Sanders.'

The new musical inspired by the careers of Depression-era outlaws Bonnie Parker and Clyde Barrow begins with stars Jeremy Jordan and Laura Osnes, as the infamous title duo, sitting dead from multiple bullet wounds in the front seat of a Ford.  I resisted the temptation to give them entrance applause.

For many Americans - okay, white suburban middle classers into traditional gender roles - the 1950s was an idyllic time when the country could rest easily with our post-war status as the world's super-power before the internal unrest of the 60s began exposing the ugly imperfections.  For stressed out, caffeinated 21st Century urbanites, a trip to the world depicted in period sitcoms like Father Knows Best and The Adventures of Ozzie and Harriet or the nostalgic recreation, Happy Days, might offer a welcome mental vacation to a less-complicated era of structured roles and lower expectations.  Or perhaps even a permanent lifestyle change.

Remembering past performances from Broadway Cares/Equity Fights AIDS' Gypsy of the Year competition.

No matter how early you enter the house for New York Theatre Workshop's production of Once, the play is already well underway.  Most of the thirteen-member ensemble, all of whom play musical instruments, seem to have long been gathered inside designer Bob Crowley's cozy Dublin pub, playing traditional folk songs, dancing a bit and singing their hearts out.  The festive mood resembles the kind of improvised jam session you might luckily stumble upon some night and never want to leave, especially since audience members are welcome to join them on stage, purchase a drink or two and linger a while.

Whether it's historic Off-Broadway theatres being replaced by chain stores and condos after their rents are tripled or beloved long-time Coney Island businesses facing eviction if they don't conform to the bland, antiseptic vision of new planners, New Yorkers are very familiar with the culture vs. commerce issues Anton Chekhov was writing about in The Cherry Orchard.

Jacques Brel is dead and buried and entombed in French Polynesia and the Zipper Theatre, home of the very satisfying revival of Jacques Brel is Alive and Living in Paris several seasons back is now a beloved memory, but the producers of that mounting have been keeping the 'ol carousel madly turning for nearly a year now with regular presentations of Jacques Brel Returns, up at The Triad.

In The Book of Mormon, the young Ugandan ingénue sings of a fantasy world she imagines where all the warlords are friendly.  And while in J.T. Rogers' intriguing drama of 1980s American foreign policy, Blood and Gifts, Afghan warlord Abdullah Kahn isn't exactly depicted as a saint, the author paints him as a man deeply dedicated to his family and the culture of his people who, like a typical American father, has job-related headaches (trying to secure weapons to defend his soil against the Soviets) and can't understand the music his son listens to (Rod Stewart's 'Do Ya Think I'm Sexy' and Tina Turner's 'What's Love Got to Do with It').  As played by Bernard White, he is a humble and patriotic man of dignity.

Shakespeare's okay, Stoppard provides a fine mental workout and Ayckbourn is always good for a serious laugh, but the British playwright who never fails to delight me is the witty and wonderful Noel Coward.

White Christmas is just too good a musical to be limited to holiday-time productions.  Especially when you have Larry Blank's ultra-snazzy swing orchestrations vibrantly delivering a gold-plated assortment of Irving Berlin classics and Randy Skinner's dancers heating up the floor with some sensational tapping.

Theresa Rebeck provides plenty of mindless fun for the aggressively hip in Seminar, a breezy and enjoyable new comedy that will especially appeal to those who love showing off their urban cultural elitism by laughing very loudly at derogatory references to short stories published in The New Yorker and howling with yuks when a pseudo-intellectual mispronounces Inigo Jones' name while passionately giving a vapid description of the Yaddo artists' colony.